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432 THE TECHNOLOGY REVIEW

The dealer in prints finds ample opportunity to test the mettle of collectors with whom he comes in contact, and if his judgment is sane and balanced he may temper the enthusiasm of his clients wisely. It is this abundance of enthusiasm without direction that accounts for the accumulation of mediocre prints.

THERE is a wide field for choice in fine prints of recent years. Whistler, responsible in part for the renewed life of etching, has left as an heritage for artists and collectors such gems as those which compose The French Set, The Thames Set and the two groups of Venice etchings. The influence of his style is readily apparent even in the manner of our greatest living etchers. James McBey, one of three leading English etchers, quite frankly acknowledges in his prints his debt to Whistler. In D. Y. Cameron some adherence to Whistlerian principles is noticeable but even more evidence witnesses his bond with Meryon, the great Frenchman. Contemporary art has, in Muirhead Bone, the greatest exponent of drypoint within the history of etching. He will be ranked with the masters.

The outlook for art in America has never been so bright as it is today. Of international reputation are, with others, Bellows, Davies, Benson, Pennell, Heintzelman, and Arms [John T.], and there is no end of talent among the younger men.

The appeal of architecture has been very strong to many of our most able contemporaries. Samuel Chamberlain, '18, Martin Lewis, and Louis C. Rosenberg, '13, to mention only three, are making a splendid contribution to the cause of modern etching. George C. Wales, '89, has done much to preserve in prints the prestige which American clipper ships gained through their speed and grace of design.

Chamberlain and Rosenberg keep alive the beauty of the Gothic. Their sketches in France, Spain, and Italy are now in much favor with American collectors. Martin Lewis has caught the true spirit of ever-changing New York in his several fine views of that city. A keenly observant artist and a humorist of parts, Lewis has given the "Sidewalks of New York" a permanent place in the portfolios of the connoisseur. His power to catch the spirit of the crowd is apparent in several plates so excellently descriptive that they might well be divided into groups representing the hours of the day. The early morning rush is pictured in "Quarter of Nine - Saturday's Children," a scene at the junction of Park Avenue and Thirty-fourth Street, and no finer effects of chiaroscuro than "Fifth Avenue, Night" and "The Great Shadow" can be found in contemporary etching, with the possible exception of Muirhead Bone's "Rainy Night, Rome," and "Spanish Friday, Ronda."

Chamberlain has not only perpetuated the pictorial qualities of many famous and lesser known architectural masterpieces but he has written of them with a happy drollness that makes delightful reading. The best qualities of his work are apparent in such prints as "The Sunlit Tower, Colmar," "Verneuil," and the "Battered Boat, Villefranche."

Rosenberg has done many descriptive plates which have become favorites of collectors everywhere. The originality of his style and methods is unquestionable.

American etching societies and museums, aided by the growth of public interest, have encouraged an ambitious spirit among artists. 

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[[caption]] LITHOGRAPH - CARTOON OF LINCOLN PERIOD BY CURRIER AND IVES. [[/caption]]

[[image - painting of Captain Hull and drawing of his ship]]
[[caption]] AMERICAN MEZZOTINT - "CAPTN. ISAAC HULL" BY D. GRAHAM [[/caption]]